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The Iconographic Primacy of Tezcatlipoca at Chichén Itzá Over Tula

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The Iconographic Primacy of Tezcatlipoca at Chichén Itzá Over Tula THE MAYA ORIGIN OF A MEXICAN GOD: THE ICONOGRAPHIC PRIMACY OF TEZCATLIPOCA AT CHICHÉN ITZÁ, YUCATAN OVER TULA, HIDALGO; AND ITS POSSIBLE DERIVATION FROM GOD K – K’AWIL by MARK SULLIVAN B.A. Florida Gulf Coast University, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Anthropology in the College of Sciences at the University of Central Florida Orlando, Florida Fall Term 2009 © 2009 Mark Sullivan ii ABSTRACT Two long-held views in Mesoamerican research, the Mexican origin of the god Tezcatlipoca and the insinuation of Toltec iconography into the artistic format of Chichén Itzá, Yucatan, Mexico, emanating from Tula, Hidalgo, Mexico conditioned this research. Considering Tezcatlipoca to be a Mexican god imparts both a foreign origin for and the preexistence of that god in Central Mexico prior to its manifestation in the sculptural repertoire of Chichén Itzá, a Maya city. However, this thesis demonstrates that no conclusive evidence of a Mexican origin for Tezcatlipoca exists. This work rejects the near dogmatic assumption of that god’s Mexican pedigree, and asserts the iconographic primacy of Tezcatlipoca imagery at the Maya city of Chichén Itzá, Yucatan over the Toltec city of Tula, Hidalgo. It also suggests the possible derivation of Tezcatlipoca from the Maya God K – K’awil. iii This work is dedicated to the memory of Matt Tripp – artist, chef, traveler; one of the millions of victims of tobacco, who died from lung cancer at age fifty-six, just two years after the birth of his son Jack, his only child. It was with Matt that I first traveled to Palenque. That visit inspired my interest in all things Maya. This work is the result of that inspiration which began on the summit of the Temple of the Inscriptions in 1984. iv ACKNOWLEDGMENTS I would like to thank Drs. Arlen F. and Diane Z. Chase for creating new opportunities to enter the field with the establishment of the Maya Studies program at the University of Central Florida. Their genuine concern and caring for their students is evident, and sets the standard for the Department of Anthropology at UCF. It has been a true privilege to be their student. In addition, I would like to acknowledge Dr. Elayne Zorn, from whom I have learned so much, both personally and academically. I am deeply indebted to Dr. Susan Stans, who took it upon herself to connect me with the Drs. Chase and the University of Central Florida; without her action, it is doubtful that this work would ever have been produced. Dr. Ed Barnhart of the Maya Exploration Center has offered much advice and encouragement over the past several years. Joel Skidmore was very helpful with my pursuit of copyright permissions. Above all, I want to thank Lynda Colombo, whose love and support throughout the last twenty-five years have made this possible. v TABLE OF CONTENTS List of Figures..............................................................................................................................viii List of Tables ................................................................................................................................. ix Introduction..................................................................................................................................... 1 The Setting: A Comparative Chronology of Tula and Chichén Itzá .......................................... 3 The Earliest Images of Tezcatlipoca and Their Media ................................................................... 5 Codices........................................................................................................................................ 6 Statuary, Ceramics, and Murals.................................................................................................. 6 Bas-Relief ................................................................................................................................... 7 Oaxacan Osteology ................................................................................................................. 8 Three Early Examples................................................................................................................. 9 Two Final Candidates ............................................................................................................... 11 Tula and Chichén Itzá ................................................................................................................... 13 Pyramid B and the Temple of the Chac Mool .......................................................................... 13 Tula ....................................................................................................................................... 14 The Physical Location of Tezcatlipoca at Tula..................................................................... 14 The Temporal Location of Tezcatlipoca at Tula................................................................... 16 Supporting Evidence............................................................................................................. 19 Summary............................................................................................................................... 20 Chichén Itzá .......................................................................................................................... 20 The Physical Location of Tezcatlipoca at Chichén Itzá........................................................ 21 The Temporal Location of Tezcatlipoca at Chichén Itzá...................................................... 23 Ceramics and Structures ....................................................................................................... 23 Art and Architecture ............................................................................................................. 24 Epigraphy.............................................................................................................................. 24 Sequencing............................................................................................................................ 26 The Temple of the Chac Mool.............................................................................................. 27 The Temple of the Chac Mool in the Great Terrace Construction Sequence....................... 28 The West and Demolished Colonnades ................................................................................ 29 A New Two-Stage Sequence for the Great Terrace.............................................................. 31 Politico-Economic Data........................................................................................................ 32 Ceramics and Caches ............................................................................................................ 33 The Iconographic Primacy of Tezcatlipoca at Chichén Itzá......................................................... 36 The Images: K’awil and Tezcatlipoca ...................................................................................... 36 Description and Names......................................................................................................... 36 The Jester God ...................................................................................................................... 39 The Serpent Bar .................................................................................................................... 41 The Manikin Scepter............................................................................................................. 41 GII......................................................................................................................................... 43 K’awil ................................................................................................................................... 44 Summary............................................................................................................................... 46 Tezcatlipoca: Geographic Origins ............................................................................................ 47 South and West ..................................................................................................................... 48 vi North ..................................................................................................................................... 49 Indications in the East – Unlikely Uaxactun......................................................................... 50 Iconography and Epigraphy.................................................................................................. 51 Comparatives ........................................................................................................................ 53 Tezcatlipoca: Analogs of and Derivation from K’awil............................................................. 54 Analogs, Heritage, and Appellative Commonality............................................................... 54 Derivation ............................................................................................................................. 56 Ties to Palenque.................................................................................................................... 57 K’ak’upakal as K’awil – Tezcatlipoca...................................................................................... 58 Conclusion ...................................................................................................................................
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